Publications

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The Levelt, Noort and Drenth Committees make their sole and final rejoinder to criticisms of their report on the Stapel fraud

Abstract

Describes the history of the field in terms of its multidisciplinary "roots" so that readers from different disciplines can concentrate on, or selectively read, the corresponding chapters. * Explores the history of research on brain and language, making the book valuable for aphasiologists, communication scientists and neuroscientists of language. * Covers the history of linguistic approaches to psycholinguistics - making the book of interest to both theoretical and applied linguists. * Written by a scientist whose own contribution to the field has been seminal, resulting in a work that will be seen as the definitive of psycholinguistics, for many years to come How do we manage to speak and understand language? How do children acquire these skills and how does the brain support them?These psycholinguistic issues have been studied for more than two centuries. Though many Psycholinguists tend to consider their history as beginning with the Chomskyan "cognitive revolution" of the late 1950s/1960s, the history of empirical psycholinguistics actually goes back to the end of the 18th century. This is the first book to comprehensively treat this "pre-Chomskyan" history. It tells the fascinating history of the doctors, pedagogues, linguists and psychologists who created this discipline, looking at how they made their important discoveries about the language regions in the brain, about the high-speed accessing of words in speaking and listening, on the child's invention of syntax, on the disruption of language in aphasic patients and so much more. The book is both a history of ideas as well of the men and women whose intelligence, brilliant insights, fads, fallacies, cooperations, and rivalries created this discipline. Psycholinguistics has four historical roots, which, by the end of the 19th century, had merged. By then, the discipline, usually called the psychology of language, was established. The first root was comparative linguistics, which raised the issue of the psychological origins of language. The second root was the study of language in the brain, with Franz Gall as the pioneer and the Broca and Wernicke discoveries as major landmarks. The third root was the diary approach to child development, which emerged from Rousseau's Émile. The fourth root was the experimental laboratory approach to speech and language processing, which originated from Franciscus Donders' mental chronometry. Wilhelm Wundt unified these four approaches in his monumental Die Sprache of 1900. These four perspectives of psycholinguistics continued into the 20th century but in quite divergent frameworks. There was German consciousness and thought psychology, Swiss/French and Prague/Viennese structuralism, Russian and American behaviorism, and almost aggressive holism in aphasiology. As well as reviewing all these perspectives, the book looks at the deep disruption of the field during the Third Reich and its optimistic, multidisciplinary re-emergence during the 1950s with the mathematical theory of communication as a major impetus. A tour de force from one of the seminal figures in the field, this book will be essential reading for all linguists, psycholinguists, and psychologists with an interest in language. Readership: Linguists, psychologists, aphasiologists, communication scientists, cognitive (neuro-)scientists, whether professionals or graduate students. Historians of science

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The present paper studies how, in deictic expressions, the temporal interdependency of speech and gesture is realized in the course of motor planning and execution. Two theoretical positions were compared. On the “interactive” view the temporal parameters of speech and gesture are claimed to be the result of feedback between the two systems throughout the phases of motor planning and execution. The alternative “ballistic” view, however, predicts that the two systems are independent during the phase of motor execution, the temporal parameters having been preestablished in the planning phase. In four experiments subjects were requested to indicate which of an array of referent lights was momentarily illuminated. This was done by pointing to the light and/or by using a deictic expression (this/that light). The temporal and spatial course of the pointing movement was automatically registered by means of a Selspot opto-electronic system. By analyzing the moments of gesture initiation and apex, and relating them to the moments of speech onset, it was possible to show that, for deictic expressions, the ballistic view is very nearly correct.

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PHD thesis, defended at the University of Leiden

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Firstly, theories are reviewed on the explanation of tonal consonance as the singular nature of tone intervals with frequency ratios corresponding with small integer numbers. An evaluation of these explanations in the light of some experimental studies supports the hypothesis, as promoted by von Helmholtz, that the difference between consonant and dissonant intervals is related to beats of adjacent partials. This relation was studied more fully by experiments in which subjects had to judge simple-tone intervals as a function of test frequency and interval width. The results may be considered as a modification of von Helmholtz's conception and indicate that, as a function of frequency, the transition range between consonant and dissonant intervals is related to critical bandwidth. Simple-tone intervals are evaluated as consonant for frequency differences exceeding this bandwidth. whereas the most dissonant intervals correspond with frequency differences of about a quarter of this bandwidth. On the base of these results, some properties of consonant intervals consisting of complex tones are explained. To answer the question whether critical bandwidth also plays a rôle in music, the chords of two compositions (parts of a trio sonata of J. S. Bach and of a string quartet of A. Dvorák) were analyzed by computing interval distributions as a function of frequency and number of harmonics taken into account. The results strongly suggest that, indeed, critical bandwidth plays an important rôle in music: for a number of harmonics representative for musical instruments, the "density" of simultaneous partials alters as a function of frequency in the same way as critical bandwidth does.